Street protests are one side of a worldwide citizens’ movement. Another side is the increasing use of boycotts, one of the most powerful weapons in the organizer’s arsenal: it is an effective and moral lever for civil rights, most notably today in its adoption by the BDS movement.
Since the days of the 19th century Irish land wars, when Irish tenant farmers defied the actions of Captain Charles Boycott and English landlords, “boycott” has been a method that’s had an impact time and again. In the 20th century, it notably played central roles in the liberation of India and South Africa and the struggle for civil rights in the U.S.: the 1955 Montgomery bus boycott is generally seen as a turning point in the movement against segregation.
Assuming Boycott is the essential reader for today’s creative leaders and cultural practitioners, including original contributions by artists, scholars, activists, critics, curators and writers who examine the historical precedent of South Africa; the current cultural boycott of Israel; freedom of speech and self-censorship; and long-distance activism. It is about consequences and causes of cultural boycott. Far from withdrawal or cynicism, boycott emerges as a productive tool of creative and productive engagement.
Innehållsförteckning
Introduction by Kareem Estefan I. The Cultural Boycott of Apartheid South Africa Sean Jacobs, The Legacy of the Cultural Boycott Against South Africa John Peffer, Art, Resistance, and Community in 1980s South Africa Hlonipha Mokoena, Kwaito: The Revolution Was Not Televised; It Announced Itself in Song Frank B. Wilderson III, Incognegro: A Memoir of Exile and Apartheid (excerpt) II. BDS and the Cultural Boycott of Israel Ariella Azoulay, “We, ” Palestinians and Jewish Israelis: The Right Not to Be a Perpetrator Noura Erakat, The Case for BDS and the Path to Co-Resistance Eyal Weizman and Kareem Estefan, Extending Co-Resistance Nasser Abourahme, Boycott, Decolonization, Return: BDS and the Limits of Political Solidarity Joshua Simon, Neoliberal Politics, Protective Edge, and BDS Yazan Khalili, The Utopian Conflict III. Who Speaks? Who Is Silenced? Tania Bruguera, The Shifting Grounds of Censorship and Freedom of Expression, from Cuba to Israel Naeem Mohaiemen, The Loneliness of the Long-Distance Campaign Svetlana Mintcheva, Structures of Power and the Ethical Limits of Speech Ann Laura Stoler, By Colonial Design: Or, Why We Say We Don’t Know Enough IV. Dis/engagement From Afar Chelsea Haines, The Distant Image Mariam Ghani with Haig Aivazian, 52 Weeks, and Engaging by Disengaging Nathan Gray and Ahmet Öğüt, Not Walking Away: Participation and Withdrawal in the 2014 Sydney Biennial Radhika Subramaniam, Loose Connection
Om författaren
Laura Raicovich is President and Executive Director of The Queens Museum of the City of New York. A champion of socially engaged art practices that address the most pressing social, political, and ecological issues of our times, she has defined her career with artist-driven projects and programs. Recent projects at the Queens Museum include “Mierle Laderman Ukeles: Maintenance Art”; “William Gropper: Bearing Witness”; “Mickalene Thomas: Untitled”; “Mariam Ghani: Garden of Forked Tongues”; “Duke Riley: That’s What She Said”; “Hey! Ho! Let’s Go: Ramones and the Birth of Punk, ” as well as a series of programs designed with Rebecca Solnit and Joshua Jelly Shapiro to launch their “Nonstop Metropolis: A New York City Atlas.” She lectures internationally, has contributed regularly to The Brooklyn Rail, and is the author of A Diary of Mysterious Difficulties and At the Lightning Field.
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